Review: Having previously popped up on Cold Recordings with some bleak and futuristic techno, Acre now moves from one Pinch-helmed label to another, making his Tectonic debut with a thunderous clout sure to firmly establish him in the melee of contemporary darkside producers. "Ping" flits between hoover rave pressure, grubby drum breaks and razor-sharp drum programming with deftness, while "Blue Moon" has a psychoactive quality about its finely realised blips and bleeps. "Icon" is an even more daring excursion into a kind of futuristic tribalism, while "Reload" eschews the dancefloor altogether in favour of an experimental study in sound design. It's staggering material produced with flair and imagination, and it sounds like nothing else out there right now.

Review: Of the many fresh faces that have come to light on Pinch's Cold Recordings, Manchester-based artist Acre has represented one of the most diverse propositions with his spots on Lost Codes (and more recently Codes), but he also has managed to follow label mate Ipman in bridging the gap over to Pinch's original institutional imprint Tectonic. After the Icons EP back in 2014, Acre now steps up with an album which fully explores his unique take on UK bass traditions. There is a lot to take in at first glance, from experimental excursions such as "Spiral" through to winsome beat studies such as "Always Crashing", with plenty of room for moody attitude in a reflection of the ever mutating definition of British soundsystem music.

Review: Of the many fresh faces that have come to light on Pinch's Cold Recordings, Manchester-based artist Acre has represented one of the most diverse propositions with his spots on Lost Codes (and more recently Codes), but he also has managed to follow label mate Ipman in bridging the gap over to Pinch's original institutional imprint Tectonic. After the Icons EP back in 2014, Acre now steps up with an album which fully explores his unique take on UK bass traditions. There is a lot to take in at first glance, from experimental excursions such as "Spiral" through to winsome beat studies such as "Always Crashing", with plenty of room for moody attitude in a reflection of the ever mutating definition of British soundsystem music.

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